Following the dynamic emergence of punk in the UK, USA and Europe in the 1970s, the subculture spread widely. As punk and new wave gained commercial and critical success, together with an attractive notoriety, it soon began an ongoing journey around the globe – both as a product and as an ideology. Punk, then, despite its omnipresence in contemporary underground and popular cultures, is clearly more than legacy music. More than forty years after the proto-punk progenitors of Detroit and New York unconsciously launched an underground revolution, to continue what some of the 60’s and 70’s anarchic counter culture propagated, and after untold premature obituaries, it appears that punk – in terms of music, philosophy, and identity – remains in rude health.

It seems obvious, and not only from an academic perspective, that popular music is highly intertwined with sexuality and gender. The current discussion on this subject is reflected on the one hand in publications that ascribe subversion, androgyny, or queerness to popular music and its protagonists (see Doris Leibetseder, Sheila Whiteley/Jennifer Rycenga) and on the other in an explicit critique of sexist and sexualizing representations of women in the popular music context (see Nicola Dibben, Simon Frith/Angea McRobbie).

Birmingham City UniversityFaculty of Arts, Design and MediaSchool of Media

FT Lecturer in Music Industries UL scale, £31,894-£37,589

062015-217

Joining the School of Media as a specialist lecturer in Music Industries and Popular Music Studies, you’ll contribute to our well-established suite of BA courses and undertake some teaching at postgraduate level.

Ethnomusicology holds an extended and substantial history of engagement with, and contribution to, public policy. This conference acknowledges that history, and points to the growing role ethnomusicology plays in influencing how public policies are considered, constructed and revised. It emphasises the potentials and challenges in applied ethnomusicology, and encourages further dialogue around how ethnomusicology contributes to the public good.